Brussels: Atelier des Arts, 1982.

Rich, B. Ruby. “Nuit torride,” Cahiers du Cinéma 341 (November 1982): 24-26. _____________ and Anders Kreuger, eds.

Movies and Methods, volume II: An Anthology. Dubroux, Danièle. [19], Akerman's cinematography is characterized by dry language, a lack of metaphorical associations, composition in a series of discontinuous blocks, and interest in putting a poor, withered syntax and reduced vocabulary in service of a new intensity. [13], Akerman has used the setting of a kitchen to explore the intersection between femininity and domesticity. [7] Her 2015 film No Home Movie centers on mother-daughter relationships, largely situated in the kitchen, and is a response to her mother's death. In De l’autre côté (From The Other Side, 2002) she documented the plight of Mexican immigrants crossing the border into the United States in search of a better life, and in Avec Sonia Wieder-Atherton (2003), paid tribute to her wife in a quiet, meditational 41 minute character study.

Marente Bloemheuvel and Jaap Guldemond (ed. I made a stock book and went to Antwerp and sold certificates on the Diamond Bourse, selling the pages for $3 each. . After this run of deeply ruminative, small-scale works, one last major film was still to come; Akerman’s final narrative feature film, La folie Almayer (Almayer’s Folly, 2011), based on the 1895 novel by Joseph Conrad. The 2015 Venice Biennale included an installation of interspersed parallel screens displaying the landscape-in-motion footage that would appear in "No Home Movie". Chantal Akerman in Saute ma ville (Blow Up My Town, 1968). ): This page was last edited on 21 October 2020, at 10:30. this is one of Akerman’s most emotionally acute films.”7 In 1996, Akerman created Chantal Akerman by Chantal Akerman, a video meditation on her life and work, in which she directly addresses the camera for the first half of the film, reading from a prepared text. Philippon, Alain. The woman hitchhikes, is picked up by a trucker, and gives an off-screen hand job to the truck driver. Arnaud, Catherine. “Tout ou rien,” Cahiers du Cinéma 447 (September 1991): 62-63. “D’Est (From the East),” Variety 11 October 1993. (1975). “Le Manoir,” Cahiers du Cinéma supplement to issue 400 (October 1987): 8. [14] The kitchens in her work provide intimate spaces for connection and conversation, functioning as a backdrop to the dramas of daily life. Beatrice begins counseling these patients, all of whom are men. She has pet birds; he has a dog. In News from Home (1976), Akerman's mother's letters outlining mundane family activities serve as a soundtrack throughout.

Cinéma Contemporain: De ce coté du miroir (Paris: Editions de la Différence: 1986). Bloomington: Indiana University Press, 1987. Mayne, Judith.

[1], Media related to Chantal Akerman at Wikimedia Commons. Born in 1950, Akerman was famously close to her mother, Natalia, who survived the Holocaust. Stanislas Merhar’s performance as Simon, a bored, wealthy young man in the grip of an erotic obsession he can neither understand nor control, is understated and stunning. I stopped.


“Jeanne Dielman: Woman’s Work,” The Village Voice 29 March 1983: 1, 48. . Weiss, Andrea. The Eighties motions towards a hyperreal cinema of embodied pleasure across the limitations of the cinematic apparatus, rearticulating the bodies and voices of Akerman’s performers into a confrontational displacement of our expectations of the traditional musical and/or narrative film.

“Beyond the New Wave: I. “Jean-Luc, Chantal, Danièle, Jean-Marie, and the Others,” American Film 4: 4 (February 1979): 53-56.

From this point on, Akerman seems to have turned her back on making films to please audiences – something she had done only sporadically throughout her career – and returned to making intensely personal, deeply affecting films. However, as Andrea Weiss points out, this “absolutely uneroticized lesbian lovemaking scene must be credited for its courage in 1974, especially given that it includes the filmmaker in the scene and rejects art cinema conventions governing lesbian sexuality.”3 The camera positioning is specifically meant to de-aestheticise the onscreen lovemaking, by making us aware of our off-screen voyeurism. “Nuit et jour (Night and Day),” Variety 9 September 1991: 65. : The Politics of Space and Representation in Chantal Akerman’s Cinema, review?res=9505E4DD1F38F93AA25752C1A96195826,, /08/10/movies/almayers-folly-directed-by-chantal-akerman.html, New Eastern Promises: The 21st Tallinn Black Nights Film Festival, Marsha Kinder, The Subversive Potential of the Pseudo-Iterative,”. “The Subversive Potential of the Pseudo-Iterative,” Film Quarterly 43: 2 (Winter 1989-90): 2-16. La Captive has been critically hailed as a masterpiece and topped most of the New York film critics’ “Ten Best” lists for the year. This summer, Eye Filmmuseum is presenting a major solo exhibition of work by Chantal Akerman. “Entretien avec Chantal Akerman,” Cahiers du Cinéma 278 (July 1977): 34-42. Madrid: Filmoteca Nacional de España, 1977. That was the end of it for stealing. Her work is about the burdens of humanity, of liminal existence, and the exilic ‘outsiderness’ of much of the world’s population, existing in a permanent state of exile from their homelands, which they can never truly leave in their heart and imagination. And she learns to say ”Yes?” and ”Mm-hmm” so professionally that she is soon much in demand. This effect of [Almayer’s exile from society] is as intense as the excitement, despair, reflection or disconnect in Ms. Akerman’s previous, personally felt studies of travelers abroad, from Les Rendez-Vous d’Anna and News From Home to D’Est and Là-bas. [2], Akerman was born in Brussels, Belgium, to Holocaust survivors from Poland. It was in the air. coming from Ms. Akerman, this is pleasant but unaccountable fluff.8. The film begins with Akerman’s signature long takes, as she drives through the town documenting the people and the landscape of Jasper. Akerman exposes the simulacrum of the female body as it is constructed in the musical comedy film, queering the performative body in an anti-narrativistic yet pleasurable montage of aural and visual passages. [16] In 2011, she joined the full-time faculty of the MFA Program in Media Arts Production at the City College of New York as a distinguished lecturer and the first Michael & Irene Ross Visiting Professor of Film/Video & Jewish Studies.[17]. One of the most significant independent filmmakers of her era, Chantal Akerman possessed a pronounced visual and narrative style, influenced by structuralism and minimalism, which offers astute insights into women’s role in modern culture.

Shortly after the completion of the film, Akerman, deeply depressed by her mother’s passing, died at the age of 65 on 5 October 2015. News from Home can be read as an astute commentary on the artificiality of mainstream cinematic narrative conventions.

Akerman had struggled to get funding for her work in her last years, but now she is appreciated for single handedly changing cinema itself. . London: Jonathan Cape, 1992.

Godard, Jean-Luc.

No narrator tells us what to think or what we are about to experience. Paris: L’Arche, 1996. Antwerp, Belgium: Ludion, 2012. and Eric De Kuyper. But such relatively commercial ventures were interspersed with the more personal work which increasingly occupied Akerman’s attention, as in D’Est (From The East, 1993), an impressionist documentary of life in the former Soviet Union after the collapse of the Communist regime, composed in a series of static tableaux in Akerman’s signature, contemplative style. Then I worked at the 55th Street Playhouse [a porn theater] as a cashier; and in three weeks I stole $4000, and I made Hotel Monterey and La Chambre [1972] with that.

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